Head Automatica keeps the audience energetic and lively throughout their upbeat set. The band is a side project lead by Daryl Palumbo, who screams bitter, hostile lyrics in the hardcore outfit Glassjaw, but surprisingly takes Head Automatica down an electric and colorful road that is not sullen to any extent. The set of funky power-pop tunes from their debut album "Decadence" is catchy and enjoyable. Jaunty, lighthearted songs such as the apparent crowd favorite, "Beating Heart Baby", have the crowd dancing. Head Automatica pulls out all stops and ends their set with "The Razor".

After some time, Coheed and Cambria emerge on a dreary looking stage; a faded picket fence runs in front of the drums, allegedly setting the feel of an abandoned cemetery. Water bottles and towels are on rusty gray pedestal tables around the stage rather than on the floor nearby. The attempted ambiance comes off as somewhat corny. Once the music starts, though, props are pushed out of everyones thoughts. Coheed and Cambria rock out hard, and in response, the crowd provides wild crowd surfing antics. Drunk and dazed kids appear at the foot of the stage utterly confused, and are ushered to seats in the corner to be administered water and relative peace. One guy tries to push past security and crawl underneath the stage itself, and gets kicked out. The rabid madness is only further instigated when guitarist Travis Stever whips out a grueling solo done with the guitar held behind his head. Lead singer Claudio Sanchez upholds Coheed and Cambrias progressive aspect with a bizarre microphone trick that looks like beat boxing, but sounds like a keyboard or organ. Also notable is the effect that Claudio Sanchezs out-of-control, permed, curly locks make when he shakes his head under the bright Crayola-marker-red stage lights.

Coheed and Cambrias performance seems to drag on after an hour or so when songs are replaced with an aimless instrumental that is not captivating, but they end with "Good Eye Sniper", and everybody sings along in unison. The set ends on a good note.

After a stage transformation concealed by a black curtain, Avenged Sevenfold are revealed before a backdrop sporting a massive Deathbat, their winged skull logo, emblazoned upon swirls of fiery reds and oranges true to their "City of Evil" theme. Their trademark ramps, catwalks, and fog effects add to the sense of glamour. Avenged Sevenfold kick off with their latest single, "The Beast and the Harlot", featuring bassist Johnny Christs customary spastic head banging move. They continue their set with similarly catchy and ostentatious numbers, stopping only temporarily for a ballad, "Seize the Day". To much cheering, Lead singer Matt Shadows pays homage to fans for their constant support despite constant verbal trashing of both the band and its fan base, and proceeds to disregard crude criticism, before picking up the tempo with "Trashed and Scattered", a song with a very "dont give a fuck" tone. The show comes to an end with an eerie dialogue and music clip from Fear and Loathing in Las Vegas, which introduces Avenged Sevenfolds debut single, "Bat Country". Drummer The Rev is smashing the hell out of his drums, Matt Shadows is singing his heart out, and Zacky Vengeance and Synyster Gates are slinking around the stage, stopping occasionally to prop a leg up on a speaker and rock out. Though their previous shows have felt more solid, meticulous, and thorough, Avenged Sevenfold still uphold their reputation for putting on a riveting and satisfying spectacle with flying colors. Every band on this tour showcases the commodity of sounding better live than on CD. The tour as a whole is downright seductive, and undoubtedly picks up fans as it snakes its way across the U.S.